All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Noir-November Challenge! Movie #22
Polished Film Noir that hits all the right notes despite the absurd plot twists! A visual banquet for the eyes! The actor that made this film simply delicious was surprisingly enough Clifton Webb!
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
I don't use a pen. I write with a goose quill dipped in venom.
There's so many films that ended up truly great out of sheer luck, accidents and circumstance. Laura is no different. Otto Preminger struggled in every aspect to have this film made the way he wanted, because there was always someone or something working against him. After fighting to get the cast he wanted however, he was denied the right to direct the film and relegated to producing it.
Rouben Mamoulian was given the directing gig, but when the first dailies came in the studio was less then impressed. Much to Preminger's delight he was given the go ahead to fire Mamoulian and take over…
''Love is eternal. It has been the strongest motivation for human actions throughout history. Love is stronger than life. It reaches beyond the dark shadow of death.''
It's been a good long while since I sunk my teeth into a tasty slice of noir, and what a better way to reacquaint than with Otto Preminger's early landmark Laura. It successfully intrigues with a wonderfully serpentine mystery whilst also offering up finely tuned melodrama and a cracking script delivered by a very capable cast of players. Dana Andrews as Mark McPherson is astute casting as the hardboiled detective that finds he is falling for the seductive titular Laura (a radiant Gene Tierney) in the wake of her mysterious death. Clifton Webb…
There are movies that you watch and wonder why it took you so long to get to them. This is one of those. I heard about this film years ago, was told it was a classic, but just never got around to watching it. What did I find when I did watch it? A nearly perfect film noir - tight, stylish and to the point, it goes by way too quickly and never disappoints.
The story is this: Police detective Mark McPherson (Dana Andrews) has been assigned to investigate the murder of a Manhattan businesswoman, Laura Hunt (Gene Tierney). Brutally murdered by a shotgun blast to the face at her apartment door, the obvious suspects seem to be her fiancé…
What can I say? The supposed "chemistry" between Tierney and Andrews is lost on me. Makes for a saggy midsection of a film that opens with a killer half hour, a decent resolution, and drags whenever Clifton Webb isn't on screen.
A great film-noir with some equally great writing. Gene Tierney in this movie is one of the most beautiful women I have ever seen on screen.
A police detective falls in love with the woman whose murder he is investigating. - IMDB
A lot of the time for me, there's some film noir that is either hit or miss. Being a miss was not the case with Laura. A film that had me the whole time thinking "Who the hell did it?", especially with the curve balls you're thrown.
There's a lot going on here and it's easy to keep up, but it's a lot to take in too. It's definitely worth the trip though. That makes it a recommend from me!
If you're wanting to watch some classic film-noir, I'd have this in the top 5 for you to see (from what I know of). There's still a bunch that I need to see too.
A direct-from-the-Fox-archives print of Otto Preminger's oddball 1944 mystery LAURA played to a packed house Friday night. While old Hollywood movies always sell out the Cinematheque during the film fest, a number of the attendees were equally enthusiastic to hear Roger Ebert's pre-show remarks. Ebert, who inducted LAURA into his "Great Movies" series with a 2002 essay, ultimately couldn't decide just what genre best suited the movie -- he was pretty sure it wasn't a film noir, and wondered if maybe it was a comedy.
How can he not be sure? Well, LAURA is a pretty queer film, and I don't just mean that the suitors in the movie seem like better fits for one another than for the not-exactly-a-femme-fatale…
5 out of 5 (A)
Waldo Lydecker is my new hero and I want to be just like him.
One of my all-time favourite films. I think I watched it 7 times in the week following my first viewing. (Not a review, more of a recollection).
Offbeat, but elegantly made, mystery story in which a flawed police detective develops a perverse fixation on the beautiful dead woman whose murder he works to solve. The less revealed about the plot the better, but there are some great twists that earn this a place among the best of 1940s film noir even as it snubs a few basic noir conventions. For one thing, while it's got a perfect hard-boiled detective—an intense, haunted Dana Andrews—the rest of its characters are hoity-toity upper crust types rather than seedy lowlifes. It also deals little in shadowy cinematography. Instead, it's set in the brightly lit, opulent apartments of heirs and executives.
Producer Otto Preminger took over as director after he fired Rouben…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!